A Lacanian Approach to Perversion

I wanted to do a talk on

perversion

and I've titled the talk I've had so far aversion, perhaps the best way to get into the topic is to point out that I think that for all of one's engagements with Kenyan psychoanalysis, whether that is mainly clinical. or theoretical is a situation in which one can reliably expect to confront certain blind spots, certain conceptual or other moments that elude us or support us within the body of theory or within the domain of practice. For me, kink was one of those blank spaces, one of those blind spots, and in thinking about preparing for the talk, I found it helpful to reflect on why that might be.

I must say that the question of

perversion

is strange or somehow inaccessible or difficult to control. For me it was a bit of a paradox in that part of the internship work I did in my training was spending one day a week for 18 months in a prison in south-west London, a prison that is worth it and where I was there. It was a vulnerable prisoner unit, which was a section of the prison reserved predominantly for sex offenders, so it's a bit strange to have spent that amount of time there, where presumably many of the offenders in that unit were structured in a perverse way, so I still seem to find this category of understanding moving away from me, so why could we also say that, although it is not simply Derrick's problem, it is also a dilemma within Kenyan psychoanalysis, so I have included in that pamphlet quite an explanation a long quote from Danny Nobis and he has a chapter that I think is simply called perversion not in this book, um, which is now titled perversion and this is what it says, nowhere in his voluminous writings or his seminars lacked a single disavowal.

The key etiological mechanism in perversion, separate from repression and exclusion, when we refer to perversion in structural terms, one feels extremely pressured to recognize the evidence of perversion as a distinct psychic structure and a separate mental economy. We never fail to examine Eroto's sexual dynamics. of fetishism, sadism and masochism, he did not hesitate to do so under the banner of perversion, but this does not guarantee the identification of a separate structure of perversion, if something like that argued for a continuity between perversion and universes. Now, Danny's not the only one. The person who makes that argument, Jean-Claude Melaval, for example, is also someone who thinks that the most crucial and only necessary diagnostic structural separation is that between neurosis and psychosis, so I suppose one of the reasons he wanted Talking about perversion is because I am interested in what people think about whether this apparent diagnostic structure in fact guarantees the dignity and status of another structure.

He then goes on to quote a section in seminar five where Larcom says that there is as much repression in a perversion as there is in her. in a symptom now, of course, I suppose we can all play that game of choosing a date somewhere in Lacon because you could also say in seminar 4 we have a statement in which Lacon says: well, with perversion we

approach

something that is as structured as a The neurosis is inversely structured, but it is structured nonetheless. Let's continue with Danny's further argument and he goes on to make an argument that I'm sure has a lot of resonance for many of us in a contemporary era of queer or fluid gender subjectivities. include sexualities, we still need to use this category, isn't it inherently problematic? here's a quote from Nobis, the world has changed since craftsmanship declined, it's changed since Freud, since that car and since Foucault, even the DSM doesn't take paraphilias very seriously anymore, so that's it. our structuring question if we believe that this diagnostic category still qualifies as such, interestingly just listening to some of the talks from the last two days I think we have also seen a bit of a resurgence of the notion of perversion as a social category, so in the Kenyan social theory we often hear references to, but to go a little further, this book, Perversion Now, was published a couple of years ago and is by far the best-selling title in this Pelgrave series.

I also have this book, Mira's recent fantastic book, called The Cruelty of Lacon, so there is a lot of material being published and there is a lot of interest and enthusiasm in the perversion category, although we also have arguments from people who say it doesn't exist, which is a distinct uh category, so we could say that within the broader Kenyan community we have a simultaneous yes and no in reference to perversion, so we could then say that we have an apparent case of disavowal of structural integrity of disavowal, so if we are I will decide on this issue.

At least we will have a debate on this topic. It may be helpful to go back. Take some steps and do some basics. Introduce some basic ideas. Now I know that for most of you this may be too much. A familiar journey, but I think it's still worth it and I think if we tried to find a new way to tell a fairly old story, one could do it using a series of writings, some clinical anecdotes. I remembered the vignette, so the two pieces that I want to present the beer, on the one hand, the clinical observation.

I don't know if you've ever done this, but every once in a while, if you look back at old clinical notes from centuries and centuries ago, it's kind. It's very interesting to see what you've written and some of what you've forgotten, but it's also interesting to wonder how certain forms of documentary writing might be used or the one genre that people often refer to as creative nonfiction and, um. So the second of the two Vineyards that I'll share was something that I guess you could say beers that you know fundamentally, away from something like clinical observation, clinical writing, towards something like a more documentary genre of writing, which often It is known as this creative. non-fiction, so I know doing that in the context of a canyon is problematic, but we'll problematize them all in due time, so in the last introductory comment I suggested I'd address a topic I'm not qualified to understand. and I have also suggested that the way to do it is illegitimate, so I mean what could go wrong, well, here we go, we are all familiar with Lacon's perhaps best-known formula regarding the perverse structure, okay, that is , the idea that the subject becomes the instrument of the other chili sauce we will now find many variations on this, we have, interestingly, the perverse subject becomes the object of the other shoe's response pause and again another variation the subject places himself as the object of the impulse.

It assumes the position of the instrument subject to the will to enjoy, so there are some variations. We'll keep coming back to that formula as a way of trying to illuminate something. You will see in the brochure that I have also given a quote from. from seminar one and it's interestingly worded, but the reason I wanted to mention it is that, again, I know most people here will be familiar with this idea, but within Kenyan terms, the speaker's perverse structure is not implies a kind of moral evaluation and evaluative dimension a normative category does not even necessarily have to remain within the domain of sexual acts a diagnosis of perversion is not based on the presence of apparent sexual transgressions so that's the idea uh we don't have to go back to either Thinking about it is the notion that in many ways, once we accept the idea of ​​polymorphous perversity for Freud, perversion is ground zero for sexuality and the linked claim that heterosexual genitality is in some sense the aberration, so I don't think we can make those arguments.

We have to do that now, but this is the quote I wanted to read briefly. Because Lacon makes an interesting qualification, what is perversion? He says towards the end of the first seminar, it is not simply an aberration in relation to sexual criteria normally, although this register is not absent nor is it an atypicality according to natural criteria, That is to say, it abrogates the reproductive purpose of sexual union, it is something else in its own structure, okay, so it stays in its place. I'll stick with the pieces, so let me introduce you to the first one. fragment of writing is a clinical note recovered from one of my first session attempts as a volunteer therapist which at the same time was worth prison time and you will see why it was a session attempt that did not go very well, so this goes back to 2009 and just a bare minimum For context, I was in a group doing voluntary counseling therapy work at Wandsworth Prison and in order for us to continue doing this work, the prison would say that you need to focus a forensic agenda on what you're doing, so don't I particularly felt the need to do that, but what they wanted us to do was get the offenders to talk about why they were there now.

In the case of neurotic criminals, you would find that you would ask those questions, you would try to get back to why exactly you did it. you know what happened, give me more details about that and invariably, you know, they would walk away from it, so here we go, here's the clinical note. If my son was here, he would say dad, that's embarrassing, so it's creamy, but here we go. I think I made a mistake. I asked Andrew, a man in his 60s, during our first meeting, why he was in Wandsworth. In fact, funnily enough, my first unprepared reaction when I met him was that he has a South African accent, he's like me, and it turned out that that wasn't correct.

He was from Yorkshire, but whatever it was, I was very surprised, but he actually answered my question quite directly, but with a lot of unsolicited detail, and offered a whole series of asexual crimes expressed in a way which at the same time was quite neutral, almost attached even though for him it was a story of the most important love story of his life, it was basically the story of how he groomed a teenager, but he told it again in a somewhat distant as a love story, but the story of a great but failed love. I had never heard anyone talk like that before a long listen to sexual encounters, but presented in a completely unapologetic way, absolutely devoid of any sense of guilt or shame, it made matters worse when I stupidly tried towards the end of the session. to summarize what he had told me he looked at me with what I took to be a look of disdain and ended the interview so that's the bit that's the bit those are two subsequent impressions in Read it again uh it's always hard to tell if this is just you subjective, whichever ego comes to the transference, counts this, so let's say it is, but nevertheless two impressions, one that when talking to him the experience was very different, there was none of the neurotic self-consciousness that would arise . out of an attempt to prepare a self-excluded painting and a self-compensating narrative, it was not in that sense that he was trying to present himself as somehow agreeable to an unknown interlocutor; it was simply a direct cataloging of the events that now provoked an anxiety and attention that he recounted. these crimes speaking in such a frank manner may have been a factor for him, it was also another sense in which any potential interlocutor was irrelevant to how he would tell that tale;

In other words, one could say that his own Jewish songs were neither embarrassing nor in any way problematic for him, and any interlocutor was unlikely to, I should say, induce any kind of questioning or blame in that sense, as well. that this is the first reflection on the second, curiously almost an ethical quality in his way of speaking and I must clarify that in the qualified sense that there were no neurotic prevarications denials avoidances repressions his narrative does not present any problem for him now, of course, before we know the idea that neuroses are a negative of perversions and, of course, For me, this experience was a way of trying to illustrate that idea so that you could say: if you ever wanted a speaking event, a speech event as an example that perversions are the positive of what would otherwise have been negativized or evaded in a neurosis, then that speech is found.

It seemed to be an example of that, so here comes the next embarrassing part, this is the second piece, it's even more embarrassing and it's more autobiographical, so it also deserves a little context, so after doing the ones thing They are worth it, maybe two years passed. Then I signed up to do an MA in creative writing at both universities and I wasn't very good at it, but what I did realize was that the only part I liked was trying to do the more documentary type. When writing what's called creative nonfiction, the idea is that you're still trying to be honest and you'd say you're trying to write nonfiction, but you're alsoYou allow yourself a bit of imaginative freedom through the form. how do you access what you're talking about so I started trying to do it and then of course anyone who's tried to do it before realizes I don't really have much to say and then I started thinking about what it was like When I started working in Wandsworth Prison and a couple of things came up, some of them weren't particularly interesting, then I remembered this and I really had that feeling of something I'd forgotten and that might not have come back, but in the future.

I try to try to write something about prison, he did, so it's not a clinical vignette because, although I was there for clinical reasons, I didn't work with the person I'll describe and, as I already said, I could say that it's more of an imaginary countertransference than a clinical observation, but nevertheless there are enough excuses here is the narrative. I am working one day a week in a vulnerable prisoner unit in Wandsworth. I have a slight feeling of dread when I open the thick wing door and walk in on a Monday morning. I'm a relatively new volunteer and it's hard to avoid the feeling of shyness walking in when I arrive.

The prison in the morning coincides with the end of the night confinement and many of the prisoners are still moving. Entering is a bit like being at the vanishing point of an image, it's like a panopticon and backwards, which is kind of right. a prison, so why? Okay, it's like a panopticon in reverse: the entire population of this Corridor in the two-story prison rows on each side has the opportunity to look and look at the person who enters and the door would always go and We would like everyone ways to announce your presence. I'm guarded by both prisoners and officers and it's worth emphasizing that point too because one of my colleagues was kicked off work, uh, two or three weeks earlier. because she had left a helper prisoner with the keys, you know, it's not a good idea, but anyway, the important thing was to be observed in the prison, he also had to be seen by the guards and not only by the prisoners, going back to the narrative.

I offered two therapy sessions in the morning and then I leave for group supervision followed by lunch when I return, the prisoners must return to the jail. I have come to dislike this moment of re-entry because there is often a man who positions himself in front of the spiral staircase that I need to access to get to the upper floor, it has happened two or three times and I have tried not to think about it , but now, as I walk down the hallway, I see him there. I'd rather believe this doesn't have much to do with me, but I can't help but notice him looking at me.

I used to think he wore eyeshadow because he has that kind of dark, sultry look. This is a little disconcerting because he is some sort of elder morc. Boy, I've now realized that he has tattoos around his eyes and that this look is permanent, it seems to me now that he works on this every week and places himself right there so he can fix that look on me. a lingering gaze seems to force its way into my eyes this I think is his thing to look at I don't know how to describe it it seems like maybe his modus operandi is to imagine another obscene scenario somewhere else and then look someone in the eyes with me, well this scenario It's still passing through his mind, his satisfaction comes, I think, from not looking away, forcing it to stay on you until some of the pornography of his eyes passes in tune, that's my best guess, that's my best approximation of what he was doing.

If he could rape you with his eyes, he would, that's what it seemed to me he was trying to do to you through his case, okay, so I think by now it's pretty clear that we've moved beyond the realm of speculation. clinic towards a kind of creation. nonfiction writing exercise, this is a case of imaginary countertransference and it is much more than that than any form of clinical tool, now we don't need to spend much time on this I guess, but I will just make Two points, one is to say that despite that I'm not doing Kenya things in writing, I think that's the value of the lesson, so I'll say that the grading, of course, is presumably and I when I try to look. in the literature about how people use some forms of creative writing alongside clinical work.

Creative writing as a means of extending supervision as a means of exploring the material, there's a lot of value there, but just to make that crucial idea, the opponent is going to use that guy. of material is not like that, one should not fool oneself into thinking that such ruminations could be viable clinical instruments that could be used, for example, as a basis for a countertransference, their interpretation is correct, if you look at it, you understand it, so just to make the However, through all the shortcomings, the imaginings, the countertransference failures of this mode of reflection, it helped me grasp something that I don't think I had obtained, everything that I simply evaded or denied while it was happening and that is, of course, the sexual nature of that interaction.

I should also point out that in the longer article there are a whole series of observations that are problematic because I'm trying to write about how it was experienced and one of the things I kept saying was that everything I experienced was what I felt. He told me that he was trying to combine or was combining several almost incompatible sexualities in one body, so some students, when I presented the example, I said, Derek, this is tremendously problematic, man, you have all these heteronormative assumptions written into what you're doing. . my response was: yes, I think so, you are right, I can confess it, but it is not insignificant that it arose in that situation, right, I mean, if this was a perverse provocation, some of those reactions became problematic, it is possible that There has been Partly, I think occasionally because of the situation, we don't try to get out of it completely, but nevertheless, how do we move forward?

We've said that the material is somewhat problematic, so we might ask if we do some Auto. criticize what is more false as to what is the defensive element what part of this text we could still use and I think maybe the first answer would be what is wrong here, well, to start, perversion is designated as a discrete location outside the ATM. outside the narrator it is located in a perverse subject. The narrative presents the narrator as an unknown subject who is somehow ambushed, but this doesn't necessarily hold up if you look at the third quote in that pamphlet, it's a long quote from um Jean clavagirl. paper the perverse couple mentions a couple of things it says there is always the subjective disparity of the partner choice of the perverse subject it has this nice quote that reiterates something of that formula that I mentioned at the beginning in perversion it says erotic excitement comes from the Contemplation of the discomfort or suffering of the other adds that this excitement is sustained by the certainty that the other is innocent and here is the quote that I wanted to highlight: the Pervert is not indifferent to his choice of partner, perverse eroticism is sure to be sustained if one of his companions defends himself in the name of certain values ​​and thus falls even more quickly into the other's game, first as a participant and then as an accomplice, and the last part, how he falls into this game, first as a participant and then as an accomplice .

So we can say that my discomfort and shyness about being in prison was something that would have made me a very good choice for someone as a possible partner for a perverse performance, however, these comments that Gabriel gives us also caused a critical lack. On the above narrative, as much as I would like to claim some kind of naivety or lack of clinical experience or neurotic defensiveness, upon reflection, it seems problematic to have stumbled upon a participating role in such an insidious erotic game, another quote that was helpful to do it. a criticism of the narrative comes from staying so in quote number four you will see there the stain talks about how perverse analysis tries to establish a perverse pact with the analyst he continues by saying making an observation of a clinical work and I think this is really appropriate in terms of returning to that narrative.

I had the feeling of being prey. A feeling of exquisite vulnerability towards her. The perverse subject's feelings of excitement and the disturbing realization of how compelling I found her in this creation of a pact in verse. his analyst was in Kenyan terms being the Mother's Palace without going into all the theoretical complexities of that. I think that was part of what was repressed in the above, particularly telling this idea, the disturbing realization of how convincing he found it, the exquisite vulnerability so another quote from Clarín the true companion of the perverse subject says that it will always be the self that is Let yourself be seduced and fascinated by the perverse subject who assumed the place that neurotic subjects reserved for the phallus and the loved object.

Now this is one of In those moments you know that you have read everything you know about scopic actuation, but having been exposed To him, his choice of words, I suppose, made it a little more real, so not only are the eyes of the intended recipient invested as a source of erotic appeal in a kinky encounter like this, they are also the means by which the recipient is caught, becomes anxious but also becomes activated, you might say, aroused, potentially seduced but potentially turned into a Seducer again, then we have a I understand why it is very difficult to locate a perverse performance exclusively in the person of a single agent of perversion.

So you are reading this. I'm starting to think that the word pervert is problematic in itself, not just because of all the moral connotations and things we have. I have suggested, but since he always seems to isolate it in a single theme, we know that Freud says interesting things about the scopic drive in um drives and its vicissitudes. He has what he calls a schematic picture of how the seemingly opposite impulses of scopophilia. and exhibitionism go together, in other words, the libidinal goals of looking sexually and showing oneself sexually are in fact united aspects of the scopic drive looking sexually and showing oneself sexually his Freud oneself looking at a foreign object active scopophilia and an object that is oneself or a part of yourself being looked at by a strange person exhibitionism, we were talking just before the session about how that might seem like a fairly innocuous form of sexuality, but just this idea that you can enjoy just being looked at, not necessarily as an exhibitionist being but the enjoyment that is achieved by the simple fact of being destroyed is now not an interesting way of thinking The Pact of Perversion of how the perverse couple becomes a bond each takes a position within the polarities or vicissitudes of the impulse scopic, okay, so while the eyes of another can be a liberal object for the perverse subject, we must also keep in mind that the gaze of the perverse subject can be phallic in a qualified sense and the qualified senses can be phallic in the precise sense of an instrument of exhibitionism, so Stephanie Swales is very helpful here, again and again, I think I've got it, let's take a look, I think it's quotes number seven and eight, this is what the whale says, she emphasizes that the main impulse of exhibitionism is the scopic. unity and that gays and exhibitionism take the place of touch here is the quote the primacy of gays is combined with the other highly controlled aspects of the exhibitionist act by choosing a stranger for its victim and choosing as its location a public place where the surprise is secured the exhibitionist tries to ensure his control on the stage by taking the other off guard, she continues talking and this is useful because now we have moved more precisely in the domain of um exhibitionism, the exhibitionist's interest is focused on the other in his reaction. look at the expression in their eyes and face, the objective of the exhibitionist is to provide the other with juices in the form of a shock of feelings of shame, anxiety, the epiphonic moment of the exhibitionist facts occurs when the measure of anxiety appears in the other.

The victim's full reaction is important insofar as it is the signal that he or she is experiencing The Gaze on himself. Now there may be a lot of problems with the narrative I provided, but something really resonated with that Swales account of how the victim The victim's reaction shows that she is experiencing The Look itself resonates with the part of the description I offered, particularly that line about how the pornography of his eyes moved on to you and the belated realization that what he was trying to do was with you. through her case, so here I think the vignette still has some descriptions, it has some value.

Now let's very briefly highlight a couple more points before coming to a conclusion. Now I know that if we're doing something completely Acadian, it can be boring. Where is the other one? What is the big other? What are the various dimensions of the other? So we'll be quick. Okay, but we want to ask then, in that formula, where are the other juices in this, in this gaze meeting, well, I guess what. The juice of the other in this perverse ceremony seems quite obvious;In the most direct sense, one could say that this response engendered by the staging of the gay period was for me a naive willing advisor, but that is not the only point of reference here, while the big other is invoked in instances of any public scene or spectacle, the great other of Kenya also implies the presumption of authority or law, so in two steps one could say that this enactment was made for the benefit of the prison part of the prisoners who are outside and that it is hard to describe, I think the visual components, the scopic quality of the prison, but they also had this center which is where the staircase was, so something that happened there was visible to many aspects of the prison, it was a bit of a focal point and if something happened there it would be C, so there was a feeling.

I think about how this performance, this demonstration was a spectacle for the people in the prison, but, interestingly, this is not something I had thought about until I looked at uh Stephanie and the literature, the performance is also for the law because at that time of day in the prison there are also guards, there are also prison officers around and one could clearly say I guess these are substitutes for the Lord, these are representatives of the law but interestingly, they are both being provoked by this behavior but they are also shown to be helpless. and powerless to act because if it were the case that my perverse partner of friends was directing an intrusive glance at me and other newcomers, he was not doing anything technically wrong. so that he could do something that maybe the prisoners and the prison guards could see was a little wrong but there was nothing they could do about it.

A good example of the other, the big other in criminal perversion cases, is found in Henry Comes Together Like the Whole Sea, OK, this is the book. Analyzing the links in crime scene photographs helps us differentiate between two intersecting dimensions, these two intersecting dimensions, from the other great social witness, more generally, as instantiated by one form of spectacle and another. as law. and again I think you got it in the quotes eh, it says that the body of the murdered victim in a vicious crime scene is often staged in a very explicit, very public and staged way to horrify or titillate whoever might discover it.

The body, such scenes, he says, have been carried out, acted out, represented, constructed primarily in relation to an audience, it is their expectations and reactions that were privileged in the construction. This, according to him, contrasts more with the hidden and secret bodies of those murdered by obsessives. one goes on to mention the unfortunate fact that in many cases investigating officers feel aroused by the scenes they are investigating and this echoes what we noted earlier regarding the importance of a legal dimension to the other sadistic criminal, says Bond . another quote is aware that the crime scene will inevitably be examined by the investigating officer that the evidence collectors who will be there carefully and who will carefully record what they find will treat everyone with great care will be tricked or perhaps more accurately seduced into taking a series of obscene photographs. and thus also become involuntary collaborators, accomplices, we then see how the other is invoked by the perverse act, but we also see how the other law is simultaneously appealed and even discredited, executed to mock, instantiated but also undermined, subverted and I would suggest that you know. perhaps obviously in these two appeals to the other we can detect the rhythm of disavowal.

Now this is some of the stuff in literature that I always used to bang my head against and didn't really understand, but with this example it becomes a little easier what I mean by the idea that the perverse subject constantly provokes the law constantly provokes the law they make sure it is still there but at the same time the perverted subject will turn the symbolic authority into mockery even while inciting to provoke to request it Tom iyers puts it this way, nice quote, he says that the Pervert will guide his desire around the attempt to transgress the law and in doing so will reinforce its rebound, so we have in its terms a double structure of the imminence of the Constitution of the Law and its disillusionment with The Coincidence. of transgression with the establishment of the law or to quote Blackhan's own words on perversion, the subversion of the law is, in fact, truly and truly the support of the law, so one last point and then we conclude: um, in this book, in Mira's book, there is a real Great chapter by Tracy McNulty and she has this quote that sums up a lot and is worth mentioning now.

I haven't given some kind of sensational example of a criminal body and so on, victim of a corpse, whatever it is. quotes her as saying that the lived experience of perversion is often an acute and even debilitating anxiety, frequently compounded by serious difficulties encountered in an attempt to create and maintain an independent life or to find an outlet for one's desires. The best way to

approach

the logic of perversions is not through the instrumentalization of cruelty or even apathy, no matter how significant an illness may seem, but through the interrogation of what the illnesses respond to and defend against. perverse practices, that is, a fundamental anxiety resulting from a captive position regarding the mother's dissatisfaction, which they feel uniquely called to address.

I find that quote incredibly useful because we said before that there are inevitably problems when you start talking about perversion, particularly in everyday popular vernacular, and I think this helps, the same thing happens at a crucial moment in seminar 10 when, despite of everything that is happening, it is black. one makes it clear that the perverse theme is objectified in what happens. The person who perhaps also explained that point to me best was Kristen Hennessey, she gave us a talk at Duquesne about some of her clinical work and I hope I'm not wrong. Sorry Kristen, but this is what I think she said.

The tendency of kink subjects to gravitate toward uncomfortable positions of excessive proximity and to stimulate the Huey and other sounds she suggested arises at least in part because they need to not know what to do. In other words, the excesses of ancestry science that have such a conclusion, where do we stand with respect to this debate over whether perversion should be given the status of a discrete clinical construct? Now, of course, I've tried to sidestep all the debates and all the conceptual work that wants to think about what exactly this is, how we should locate denial, whether we think about it and/or the logic of perversion, etc., a lot of debates different about that, but maybe if we listen Now we could take a slightly more pragmatic view and a pragmatic view that questions the function of diagnosis and we could ask ourselves what does diagnosis refer primarily to individual subjects or is it rather something that functions as a rudimentary roadmap as a means of directing a process. treatment and if you think of diagnosis as a means of directing a treatment rather than something that belongs to the categorization of an individual subject, then it seems that we can say that perversion exists, exists as a category, even if it is only in a provisional capacity or predetermined in the sense that there are people for whom such an individual has regrets, since such an indicated direction of treatment would probably be beneficial;

In other words, to put it more directly, perhaps we should worry less about whether they are perverse subjects and more about whether there are treatments that might be useful in cases of such forms of suffering penultimate point a question about that narrative why, given the meaning of the scene and my attempts to keep going back and not being able to forget it, why was it forgotten Why was an answer discarded? I think it refers to neurotics' attempts to avoid or, in this case, simply forget and deny any situation in which they become the object of another person's visual response.

Why is this important in terms of debates and perversion of the structure? I think it's important in terms of debates about structure because if most analysts tend to be neurotic and if it's true that neurotics have an allergic reaction to being the subject of other Jewish songs, then inviting will be a kind of tendency within from the psychoanalytic world to affirm the idea of ​​perversion as a separate diagnostic structure; In other words, those with a neurotic makeup might well be predisposed to treating any subject who provokes their anxiety as diagnostically different as enormous, makes the same point even more precise. way and here is the quote I am not sure if perversion is included or not, it says that it is often a transparent counter diagnosis that serves to alleviate the anxiety of the analyst without analyzan triggering anxiety and threatening to destabilize his professional conduct oh comfort, last spot.

Would it not have escaped anyone's attention that the vocabulary of voyeuristic perversion that ends with periods of exhibitionism applies as much to my presentation of this material as to the alleged perversion itself? We could understand this as a kind of attack for being targeted by another Jew. I'll close then by simply saying that working with kink comes with a number of different challenges, the first of which involves knowing how to deal with being made a Target or a destination of bewildering forms of anxiety and outcomes, but more than that work. with kink is always about becoming a potential participant in being a member of a kink couple and it also brings with it the possibility that one may end up enjoying this partnership more than one could have imagined and it also carries with it the possibility of grounding. own perversions and joys still recognized thanks